DOCSLIB.ORG

“Convergence” Catalogue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Convergence” Catalogue Frances Ferdinands Convergence After decades of painting in a representational/surrealistic mode, I recently forged a new direction embarking on a series of “Abstracts”. I am finding new challenges in my approach to the canvas, letting the imagery unfold in an organic manner, and allowing the elements of chance and improvisation infuse the work. Currently these new works are developing in two connected but different paths. Much of the “Sari” and “Paisley” inspired paintings evoke my South Asian heritage in the vivid colors, textures, patterning, and motifs used throughout. These subjects are rooted in the cultural, social and religious fabric of the region, but over time have been appropriated and adapted by western culture. Their resultant hybrid nature allows me to intervene with my personal associations and configurations in the creation of works that I hope resonate on a visual and conceptual level. They are also symbolic of my own migration to the west, and my hybrid status as a Sri Lankan Canadian. The “Totems” with their vertical thrust focus more on strength with gesture, and reflect the influence of the grandeur displayed by the ancient pine and maple trees that surround me here at my new country home. These works demonstrate a more “painterly approach” to the subject. It includes a concentration on gesture, texture, form and color utilizing a variety of gels and pastes. All of the paintings are linked together through the application of materials, and the useConvergence of unorthodox tools such as tile scrapers, spools of thread, the imprinting of fabric, and bits of china which reflect my personal history. Within this I try to capture the spirit of these influences in creating a dance across a richly vibrant and nuanced surface. COVER: Sari #1 Frances Ferdinands, 2013: Reflections on Identity in Abstract Mode The show by Frances Ferdinands, Convergence, is an idiosyncratic look at identity which Some of the Paisley/ Sari works are smaller and deliberately so, but all are exuberant and invokes memories of the artist’s homeland in Sri Lanka as much as her sympathy and explosive so that in Bits for example, the forms seem to be emerging before our eyes in a love for her life in Canada. bath of energy. The effect recalls the works of the French master Odilon Redon, emergent in places with hits of colour, in a richly handled broth of areas, some of which are paint- The exhibition begins and ends with a brand-new way of painting for Ferdinands, a distinctly encrusted and others where the paint is scraped for a scraffito impression. untraditional way of abstracting in nervy works that grapple with images drawn from her South Asian past and Canada, though never simultaneously in the same work. Ferdinands studied Visual Art at York University in Toronto, graduating in 1974, and trained with teachers such as Graham Coughtry and Gordon Rayner. Abstraction was The paintings are concise yet deep, themed in two sections that play fast and loose with the order of the day, the more richly and expressively painted the better. We are to be memory and vision, creating novel ways of dealing with colour and composition but reminded that Ferdinands’s only abstract work was done at that time, although she has never falling back on one way of working or another. always loved what the brush can do. However, these works, her first abstractions from Both series zero on Abstract Expressionism but seem on the verge of something else, be then till now, are dense and textured and involve areas in which she uses granular gels it narrative or “Pattern and Decoration.” Most riveting is Ferdinands’s Totem #1, a vividly and pastes. They are pictures which only tell a little about where they’re coming from but hued gestural abstraction with rich oranges, purples and blues from 2011. The first in her tell a lot about where the artist is going. These are denizens of a special nation, Canada, Canadian series, it reminds you that Ferdinands was an accomplished colourist in the in which all mixtures are possible and accepted. representational paintings she painted earlier in her career. Totem #1, detail Perhaps some of them should be called “Odes” since Ferdinands is besides being a Voyager #1, detail IMAGE 1 Another surprise comes with Burst, another Totem painting, all about energy and colour. painter, a talented pianist with her A.R.C.T. degree from the Royal Conservatory of Music IMAGE 7 The same energy and exuberant colour appear in her Paisley and Sari series though here in Toronto (1972). Music is a large part of her life and Ferdinands in her paintings offers what’s lurking beneath the surface of her imagery is her knowledge and her memory of the viewer a lyrical quality in many of the works so that she seems to be pursuing sounds South Asia. To acknowledge that world, she likes to refer to the history of paisley cloth, – or so it seems – in paint. using shapes drawn from fabrics and combining them in different colour schemes. It’s tempting to think that in Convergence the artist went beyond memories and issues, Paisley, it seems to Ferdinands, has a story not unlike that of her life. Originally from Persia, and left her conceptually-based work behind to face new challenges apparently at random, the patterns traveled to India before arriving in Scotland. The story is one of migration of but that raises, in another way, the idea of her being an outsider to abstraction in her own forms which to her refers to the migration of peoples and to herself. In this series we find special way. These paintings are narratives even if abstract; some of them have a political glimpses of the artist’s life prior to Canada through a concatenation of symbols in a hidden side and confirm what we know or suspect about Ferdinands: that she is an original in narrative. “P & O” occurs in the Voyager #1 work -- it was one of the ships she took with her everything she does. parents to come to Canada. Patterns occur, dots, squiggles, stripes, cross-hatches, loose By approaching the mode of abstraction ambitiously Frances Ferdinands orchestrates a brush strokes, bits of imprints of material, imprints of spools of thread (she and her mother known language into a dizzying experience that comes close to being both gorgeous and loved to sew). “Everything is bits and pieces,” says Ferdinands, “when you travel from East a way of fitting together incongruous fragments of life. Her way of working is not unlike to West, and in your heart and memory you go back again.” the South Asian-Canadian experience, which, like much like the rest of the world, is not In the Paisley/Sari series, the images are present but subtly so, they often seem merely overwhelmed by input, but able to process what has occurred to it. We see in her work implied. In the Totem works, the images are sometimes more explicit, so large vertical the results transformed into contemplatable form. Burst, detail forms soar upwards like trees – or Totems. Bits, detail IMAGE 6 Joan Murray, August 2013 IMAGE 4 1. Totem #1 2. Totem #2 3. Paisley #2 4. Bits 5. Flyover 6. Burst 7. Voyager #1 8 Voyager #2 9. Paisley to Plaid Education: 2003 Kelowna Art Gallery, Kelowna, British Columbia “Adrift” 2007 Lennox Contemporary, Toronto, Ontario 1992 Art Contemporain Du Canada, Galerie Ader Tajan, “Double Date” (Tableau Vivant Performance) Paris, France B. ED. (1977) University Of Toronto (Visual Art & Drama) 2001 Macdonnell Gallery, Toronto, Ontario “Adrift” 2000 Gallery Lambton, Sarnia, Ontario “Adrift” 2006 Womanmade Gallery, Chicago, Illinois (U.S.A.) 1992 Beyond Time & Circumstance, Lynnwood Arts Centre, HON. B.F.A. (1974) York University (Visual Art) “Anthropomorphism” Simcoe, Ont. A.R.C.T. (1972) Royal Conservatory Of Music, Toronto (Piano) 2000 Ka ‘Ikena Gallery, Kapi’olani College, Honolulu, Hi. (U.S.A.) “Palm Breeze” 2006 A.K.A. Gallery, Saskatoon, Saskatchewan 1990 Frances Ferdinands 1983 – 1999, Gallery Lambton, “Double Date” (Tableau Vivant Performance) Sarnia, Ontario Selected Grants & Awards: 1997 Gallery 13, Rocky Neck Art Colony, Gloucester, Mass. 1991 Kenneith Gallery, Sarnia, Ontario 2005 Galeria Carrion Vivar, Bogota, Columbia “Nord – Sud” 1985 Old Wars By Young Artists, Robert Mclaughlin Gallery, Canada Council Travel Grant: 1999 1990 Gallery Lambton, Sarnia, Ontario 2005 Niagara Gallery, Toronto “Artists For Africa” Oshawa, Ontario Ontario Arts Council Exhibition Assistance: 2013, 2008, 2007, “Frances Ferdinands 1983-1989” 2005 Latcham Gallery, Stouffville, Ontario “Go Figure” 2006, 2005, 2004, 2003, 2000, 1999, 1995, 1989, 1987, 1986 1988 Albert White Gallery, Toronto, Ontario “Urban/ Nature” 2004 Womanmade Gallery, Chicago, Illinois (U.S.A.) Collections: Public / Corporate Ontario Arts Council Artist-In-The-School Grant: 1994, 1992, 1987 Galerie Arpege, Collingwood, Ontario “Fabrications” 1991, 1978 Advanced Photographics, Danvers, Massachusetts “Mysterious Travellers” 2001 Lieutenant Governor’s Suite, Queen’s Park, Toronto, Archives Of Ontario, Toronto Canada Council Project Grant: 1985 Ontario “The New Spirit Of Ontario” 1986 Albert White Gallery, Toronto, Ontario Archon Construction, Toronto Ontario Arts Council Project Grant: 1975 “Mysterious Travellers” 1997 Granite Shore Gallery, Rockport, Mass (U.S.A.) Canada Life Assurance, Toronto 1986 La Centrale (Formerly Powerhouse) Montreal, 1996 Gallery Lambton, Sarnia, Ontario Cadillac-Fairview Corp., Toronto Publications: Quebec “War” “Heritage Park Collection” Carrousel Holidays, Toronto 1985 Kozak Gallery, Toronto, Ontario “War” 1993 Passions Gallery Provincetown, Mass (U.S.A.) Featured Artist In “Acrylic Innovation” – Nancy Reyner, CHSLD Providence Notre-Dame De Lourdes, Montreal Northlight Books, 2010 1981 Merton Gallery, Toronto, Ontario “Solitary Women” 1993 McIntyre Gallery Regina, Saskatchewan Dresdner Bank Canada, Toronto Featured Artist In “Rethinking Acrylic” – Patti Brady, 1992 Galerie Ader Tajan, Paris France Franco-Nevada Mining, Toronto Northlight Books, 2008 Exhibitions: Two or Three Person “Art Contemporain Du Canada” C0-Editor Of – Coach House Press, 1973 1992 Lynnwood Arts Centre, Simcoe, Ontario Girig, Inc.
Load more

Recommended publications
  • Borderline Research
    Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world.
    [Show full text]
  • Difficulty in the Origins of the Canadian Avant-Garde Film
    CODES OF THE NORTH: DIFFICULTY IN THE ORIGINS OF THE CANADIAN AVANT-GARDE FILM by Stephen Broomer Master of Arts, York University, Toronto, Canada, 2008 Bachelor of Fine Arts, York University, Toronto, Canada, 2006 A dissertation presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Joint Program in Communication and Culture Toronto, Ontario, Canada, 2015 © Stephen Broomer, 2015 Author’s Declaration I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii Codes of the North: Difficulty in the Origins of the Canadian Avant-Garde Film Stephen Broomer Doctor of Philosophy in Communication and Culture, 2015 Ryerson University and York University Abstract This dissertation chronicles the formation of a Canadian avant-garde cinema and its relation to the tradition of art of purposeful difficulty. It is informed by the writings of George Steiner, who advanced a typology of difficult forms in poetry. The major works of Jack Chambers (The Hart of London), Michael Snow (La Region Centrale), and Joyce Wieland (Reason Over Passion) illustrate the ways in which a poetic vanguard in cinema is anchored in an aesthetic of difficulty.
    [Show full text]
  • The National Gallery of Canada: a Hundred Years of Exhibitions: List and Index
    Document generated on 09/28/2021 7:08 p.m. RACAR : Revue d'art canadienne Canadian Art Review The National Gallery of Canada: A Hundred Years of Exhibitions List and Index Garry Mainprize Volume 11, Number 1-2, 1984 URI: https://id.erudit.org/iderudit/1074332ar DOI: https://doi.org/10.7202/1074332ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Mainprize, G. (1984). The National Gallery of Canada: A Hundred Years of Exhibitions: List and Index. RACAR : Revue d'art canadienne / Canadian Art Review, 11(1-2), 3–78. https://doi.org/10.7202/1074332ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1984 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ The National Gallery of Canada: A Hundred Years of Exhibitions — List and Index — GARRY MAINPRIZE Ottawa The National Gallerv of Canada can date its February 1916, the Gallery was forced to vacate foundation to the opening of the first exhibition of the muséum to make room for the parliamentary the Canadian Academy of Arts at the Clarendon legislators.
    [Show full text]
  • Note to Users
    NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI Social Discourse in the Media Interpretation of Christiane Pflugfs Do11 Paintings Michelle H. Veitch The Department of Art History Presented in Partial Fulfilment of the Requirements for the Degree of Master of Arts at Concordia University Montreal, Quebec, Canada September 19 9 8 Q Michelle H. Veitch, 1998 National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON KIA ON4 Ottawa ON KIA ON4 Canach Canada Your fik, Votre teference Our I% Notre rréfdrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou su.format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othedse de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university.
    [Show full text]
  • John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism
    John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism by Matthew Purvis A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2020, Matthew Purvis i Abstract This dissertation concerns the relation between eroticism and nationalism in the work of a set of English Canadian artists in the mid-1960s-70s, namely John Boyle, Greg Curnoe, and Joyce Wieland. It contends that within their bodies of work there are ways of imagining nationalism and eroticism that are often formally or conceptually interrelated, either by strategy or figuration, and at times indistinguishable. This was evident in the content of their work, in the models that they established for interpreting it and present in more and less overt forms in some of the ways of imagining an English Canadian nationalism that surrounded them. The dissertation contextualizes the three artists in the terms of erotic art prevalent in the twentieth century and makes a case for them as part of a uniquely Canadian mode of decadence. Constructing my case largely from the published and unpublished writing of the three subjects and how these played against their reception, I have attempted to elaborate their artistic models and processes, as well as their understandings of eroticism and nationalism, situating them within the discourses on English Canadian nationalism and its potentially morbid prospects. Rather than treating this as a primarily cultural or socio-political issue, it is treated as both an epistemic and formal one.
    [Show full text]
  • Winter 2003 Newsletter
    ARLIS ON it’s about YOUR community ARLIS ONTARIO’S OFFICIAL E-NEWSLETTER vol. 1 • #2 • fall 2003 contents notes from member the chair profiles message from the chair Hildegard Lindschinger The fall semester, the first Art-related printed and .............................1 & 4 involving the “double cohort,” manuscript materials in member profiles is racing toward its finish line. Archives & Special Art-related materials in As we race along with it, we’ll Collections, Scott Library, Archives & Special Collections, be glad to finally catch our Scott Library, York University breath, catch up on some of York University Mary Williamson Mary Williamson those ever-growing piles on .............................1 & 2 our desks... recent projects The Silent Auction event at Art Gallery of Ontario OCAD on December 15 Randall Speller should be the perfect antidote .............................2 & 3 to any stress encountered along the way! upcoming At the Fall Meeting in Toronto, we had passed out events surveys about what kind of work is done by our ARLIS/NA Ontario members. Charles Eames furniture. ANNUAL Twenty-three forms were Archives & Special Collections filled out and submitted; the SILENT AUCTION following is a summary that Monday December 15, you might find quite 6:00 pm - 9:00 pm interesting. BOOKS, PERIODICALS, Ontario College of Art & EXHIBITION CATALOGUE Design Library Of the 23 entries, 18 were When I began my career at # bring your favorite"potluck" from members; 5 were visitors York as Fine Arts hors d'oeuvres Bibliographer in 1970, art # acquire treasures from your at the Fall meeting. ARLIS-Ontario colleagues! books in many categories Visit the ARLIS-Ontario Continued on pg.
    [Show full text]
  • INTERARTISTIC MODERNISM in CANADA, 1930-1960 Michèle
    BETWEEN THE LINES: INTERARTISTIC MODERNISM IN CANADA, 1930-1960 Michèle Rackham Department of English McGill University, Montreal November 2011 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Michèle Rackham 2011 for David TABLE OF CONTENTS ABSTRACT / RÉSUMÉ i-iv ACKNOWLEDGEMENTS v-viii INTRODUCTION Contextualizing the Rise of Interartistic 1 Modernism in Canada CHAPTER ONE ―Not nature alone, but nature‘s relationship to man‖: 46 Emily Carr‘s and Dorothy Livesay‘s Landscapes of Affect CHAPTER TWO Montreal Modernisms, Little Magazines, and the 130 Agency of Visual Art in the 1940s CHAPTER THREE ―Let A- / tomic unsplittable REALITY / now at last / 225 be exploded to hell‖: The Energy of Canadian Modernist Poetry and Visual Art in the Fifties CHAPTER FOUR P.K. Page-Irwin‘s ―Geometry Awash‖: Negotiating 332 Modernist Aesthetics Via the Visual Arts CONCLUSION Canada‘s Interartistic Modernism and National Culture 430 WORKS CITED 450 Rackham i ABSTRACT This dissertation offers the first comprehensive examination of the diverse inte- ractions and collaborations among Canadian modernist poets and artists, as well as the aesthetic, thematic, and idiomatic relationships between their poems and works of art. The project incorporates archival and historical research to demon- strate the interartistic nature of modernist poetry in Canada between 1930 and 1960. By establishing that paintings, sculptures, and book designs and illustrations by Canadian artists who knew and worked closely with Canadian modernist poets informed and affirmed the content and aesthetics of the poetry, the dissertation argues for a consideration of the social dimension of literary modernism in Cana- da.
    [Show full text]
  • Avrom Isaacs Fonds (F0134)
    York University Archives & Special Collections (CTASC) Finding Aid - Avrom Isaacs fonds (F0134) Generated by Access to Memory (AtoM) 2.4.1 Printed: May 29, 2019 Language of description: English York University Archives & Special Collections (CTASC) 305 Scott Library, 4700 Keele Street, York University Toronto Ontario Canada M3J 1P3 Telephone: 416-736-5442 Fax: 416-650-8039 Email: [email protected] http://www.library.yorku.ca/ccm/ArchivesSpecialCollections/index.htm https://atom.library.yorku.ca//index.php/avrom-isaacs-fonds Avrom Isaacs fonds Table of contents Summary information .................................................................................................................................... 40 Administrative history / Biographical sketch ................................................................................................ 40 Scope and content ......................................................................................................................................... 41 Notes .............................................................................................................................................................. 41 Access points ................................................................................................................................................. 42 Collection holdings ........................................................................................................................................ 42 1996-036, Accession 1996-036 (1961-1991) ............................................................................................
    [Show full text]
  • Toronto Improvisation, Abstract Expressionism, and the Artists' Jazz
    Critical Studies in Improvisation / Études critiques en improvisation, Vol. 11, Nos. 1-2 “We Can Draw!”: Toronto Improvisation, Abstract Expressionism, and the Artists’ Jazz Band David Neil Lee The improvised performance practice that came to be known as “free jazz” burst into prominence around 1960, and soon proved itself a genre extremely permeable to influences from other artistic disciplines. It was, as John Szwed writes, “. played by musicians who often seemed to have completely escaped the jazz recruitment process. They were classically trained virtuosos and musical illiterates, intellectuals and street rebels, and highbrows disguised as primitives” (Szwed 236). Ted Gioia calls the first free jazz musicians “. almost all outsiders . an outgrowth of the bohemians and ‘angry young men’ of the 1950s” (Gioia 311). To make the members of this new movement even harder to pigeonhole, George E. Lewis points out that the new music’s emergence “was a multiregional, multigenre, multiracial, and international affair” (Lewis 40). If there was any consistency among these varied practitioners, it lay in their identification—imposed either by themselves or by their circumstances—as, in Gioia’s terminology, “outsiders,” and in their adoption of the music, what Lewis describes as “a symbolic challenge to traditional authority” (40). Over the previous two decades, abstract expressionist art had been evolving a similar language of resistance, positioning itself as a symbolic challenge to authority. It also polarized opinions in the visual art world just as free improvisation would do in the jazz world. Serge Guilbaut, for instance, writes that Jackson Pollock’s work was seen as “. ‘unpredictable, undisciplined, explosive’ .
    [Show full text]
  • Canadian Post~War & Contemporary
    HEFFEL FINE ART AUCTION HOUSE HEFFEL FINE ART CANADIAN POST~WAR & CONTEMPORARY ART & CONTEMPORARY ART & CONTEMPORARY CANADIAN POST~WAR NOVEMBER 2009 26, VISIT HEFFEL FINE ART AUCTION HOUSE www.heffel.com VANCOUVER • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE ISBN 978~0~9811120~3~9 SALE THURSDAY, NOVEMBER 26, 2009, 4PM, TORONTO CANADIAN POST~WAR AUCTION & CONTEMPORARY ART THURSDAY, NOVEMBER 26, 2009 4:00 PM, CANADIAN POST~WAR & CONTEMPORARY ART 7:00 PM, FINE CANADIAN ART PARK HYATT HOTEL QUEEN’S PARK BALLROOM 4 AVENUE ROAD, TORONTO PREVIEW AT HEFFEL GALLERY, VANCOUVER 2247 GRANVILLE STREET SATURDAY, OCTOBER 31 THROUGH TUESDAY, NOVEMBER 3, 11:00 AM TO 6:00 PM PREVIEW AT GALERIE HEFFEL, MONTREAL 1840 RUE SHERBROOKE OUEST THURSDAY, NOVEMBER 12 THROUGH SATURDAY, NOVEMBER 14, 11:00 AM TO 6:00 PM PREVIEW IN TORONTO 13 & 14 HAZELTON AVENUE SATURDAY, NOVEMBER 21 THROUGH WEDNESDAY, NOVEMBER 25, 11:00 AM TO 6:00 PM THURSDAY, NOVEMBER 26, 10:00 AM TO 12:00 PM HEFFEL GALLERY, TORONTO 13 HAZELTON AVENUE ONTARIO, CANADA M5R 2E1 TELEPHONE 416 961~6505, FAX 416 961~4245 INTERNET: WWW.HEFFEL.COM HEFFEL FINE ART AUCTION HOUSE VANCOUVER • TORONTO • OTTAWA • MONTREAL 2 HEFFEL FINE ART AUCTION HOUSE CATALOGUE SUBSCRIPTIONS A Division of Heffel Gallery Inc. Heffel Fine Art Auction House and Heffel Gallery Inc. regularly publish a variety of materials beneficial to the art collector. An TORONTO Annual Subscription entitles you to receive our Auction Catalogues 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 and Auction Result Sheets. Our Annual Subscription Form can be Telephone 416 961~6505, Fax 416 961~4245 found on page 116 of this catalogue.
    [Show full text]
  • Canada in Venice an ESSAY by GENEVIEVE FARRELL
    Canada In Venice AN ESSAY BY GENEVIEVE FARRELL First held in 1895, La Biennale di Venezia was organized in an effort to of works from its permanent collection by artists who have rebrand the decaying city of Venice. Emphasizing the country’s active represented Canada at the Venice Biennale) the exhibitors have been contemporary art scene, the event aimed to fuel tourism (the city’s predominantly white males hailing from Ontario or Quebec. Of the only remaining industry) while propelling Italian art and artists into the 65 artists who have represented the nation thus far, only 10 have 20th century. Drawing in over 200,000 visitors, the overwhelmingly been women. Rebecca Belmore remains the only female Indigenous popular and commercial success of this exhibition propelled the city artist to represent the nation (2005), and while no woman of color has to establish foreign country pavilions within their “Padiglione Italia” exhibited in the Canadian Pavilion, the choreographer Dana Michel (or “Giardini” / “Central Pavilion”). The Venice Biennale has continued became the first Canadian to win a Silver Lion (life time achievement to grow, to become a much larger event where countries exhibit award) at the Venice Dance Biennale in 2017. While these statistics the best of their nations’ contemporary cultural production. After are not atypical when one looks at the history of Biennale exhibitors surviving two world wars and much political upheaval, the biennale from other participating nations, the information should provoke is now a foundation that not only runs a bi-annual contemporary serious reflection on the historic political and cultural values of art exhibition, but also the Architecture Biennale, the Venice Film western nations.
    [Show full text]
  • William Kurelek Life & Work by Andrew Kear
    William Kurelek Life & Work by Andrew Kear 1 William Kurelek Life & Work by Andrew Kear Contents 03 Biography 19 Key Works 48 Significance & Critical Issues 62 Style & Technique 76 Where to See 88 Notes 95 Glossary 101 Sources & Resources 108 About the Author 109 Credits 2 William Kurelek Life & Work by Andrew Kear The art of William Kurelek (1927–1977) navigated the unsentimental reality of Depression-era farm life and plumbed the sources of the artist’s debilitating mental suffering. By the time of his death, he was one of the most commercially successful artists in Canada. Forty years after Kurelek’s premature death, his paintings remain coveted by collectors. They represent an unconventional, unsettling, and controversial record of global anxiety in the twentieth century. Like no other artist, Kurelek twins the nostalgic and apocalyptic, his oeuvre a simultaneous vision of Eden and Hell. 3 William Kurelek Life & Work by Andrew Kear Fathers and Sons William Kurelek was born on a grain farm north of Willingdon, Alberta, to Mary (née Huculak) and Dmytro Kurelek in 1927. Mary’s parents had arrived in the region east of Edmonton around the turn of the century, in the first wave of Ukrainian immigration to Canada. These farming families, from what is known today as the Western Ukraine, transformed Canada’s harsh western prairie into a flourishing agricultural region and created an important market for the eastern manufacturing industry. The Huculaks established a homestead near Whitford Lake, then part of the Northwest Territories, in a larger Ukrainian settlement. Dmytro arrived in Canada in 1923 with the second major wave of Ukrainian immigration.
    [Show full text]